情感地

The love is a kind of emotion education, therefore can't with a heavy hand pursue on the some ffair, but want to pass the teachers and the students' exactitude association, fall in love confabulation, gradual let the student realize emotion, attain to change and influence imperceptibly of purpose.

爱，是一种情感教育，因此，不能在某些事情上苛刻地去追求，而是要通过师生的正确交往，倾心交谈，逐渐让学生体会到情感，达到潜移默化的目的。

Esthesia –Subject and perceiving , caused the object things of the emotion to obtain aesthetic nature in step of the emotion.

感知——情感的主体和被感知、引起情感的客体事物同步地获得了审美的性质。

Langer's emotion theory and exploration to humanity spirit greatly elevate the value of humanity emotion.

朗格的情感理论和她对人类心灵的探索，极大地提升了人的品位和人类情感的价值。

As for the use of imagery, white, green and red express the poet's deepest emotions of delight, lightheartedness and enthusiasm, respectively; the allusions are succinct and rich in meaning; the syntactic and semantic structures are primarily inductive, deductive, antecedent-consequent and abstract-concrete, and involve the skillful organization of words.

其中＜浣溪沙＞五首词，在内容主旨方面，具现了苏轼在黄州的生活、情感及思想；在物材方面，偏好运用白、青、红三种颜色意象以呈显作者深层的情感；在事材方面，善於以典故表达丰富的义蕴；在章法结构方面，善用归纳、演绎、因果及虚实交迭的方式巧妙地组合文词。

Therefore, the part of analyzing questions compares and analyzesarchitectural elements involved in traditional folk houses and municipal housing from threeaspects such as world view of humanism, nature and psychology, which aims to seek a commonground between modern municipal housing and aspects of cultural recessiveness such ashumanism spirits involved in traditional residences. Then, this dissertation will put forward thedesign method concerning application of traditional folk houses" elements to modern housing, andthen try to change current drawbacks of municipal housing such as lack of expression and neglectof sensation, so that it is possible to explore another development path for people"s betterinhabitancy as well as to provide a new way of thought for forming resident architecture theorywith Chinese characteristic.

因此分析问题部分从自然观、人文观和心理观三方面对传统民居和城市住宅中的建筑元素进行比较分析，目的是找出传统民居中凝结的人文精神与情感智慧等文化隐性层面与当代城市住宅的契合点，提出传统民居元素在现代住宅中应用的设计方法，从而试图改变现有现代城市住宅"缺乏表情，忽视情感"等现有的缺憾，以期为人们更好地栖居生活探索另一条发展途径，也为形成有中国特色居住建筑理论提供一种新的思考方式。

Acquaintance. The strongest motives, the most furious passions,fear, hatred, and resentment, are scarce sufficient to balancethis natural disposition to respect them: and their conduct must,either justly or unjustly, have excited the highest degree of allthose passions, before the bulk of the people can be brought to

最强烈的动机，最激烈的情感、恐惧、仇恨乃至怨怒，都不足以抗衡对他们自然而然的尊敬之情：在民众被唤起以暴力反抗他们，或想亲自目睹看他们遭到惩罚或废黜之前，他们的行为，公正也好，不公正也罢，无论如何都早已最大限度地激发出那些情感。

Through different rhythms, time changing, many tonalities changing, lots of musica images and the combination of musica spirits, composer makes the whole tune have vivid nationality and times on the expression of contents of musica emotions, while at the aspect of musica taste effect,he also organically blends musica's beauty of stiuation, beauty of environment and beauty of happy into one.

作曲家通过多种节奏、节拍的变换；多种调性的转换；多种音乐形象、音乐情绪的组合等手法，使整首乐曲在音乐情感内容的表达上，具有鲜明的时代性与民族性；在音乐的审美效应上，有机地将音乐的情境美、情感美、欢乐美融为一体。

Anciently, most researches focused on the history or culture of furniture. And lessinvestigation has been made into studying human''s image and affective expression about form element of furniture. It is difficult to make a good design to meet the consumer''s mental feeling if it is not considered by affective expression theory in furniture design.In this research, we take modern classical furniture as a case to study their emotion image.

以往的研究中，对于家具的研究大多局限在家具的历史与文化上，或者是对家具造型设计的探讨；而较少地探讨家具造型形态元素带给人的心理意象及情感体验，更没有完整的论述家具设计情感化的理论，这使得设计师在进行家具造型设计时无法有效掌握消费者的心理及情感需求，导致设计上的盲目和限制。

A notion of yourself, of the sort of a something that you suspect to inhabit and partially to control your flesh and blood body, you will encounter a walking bundle of superfluities: and when you mentally have put aside the extraneous things—your garments and your members and your body, and your acquired habits and your appetites and your inherited traits and your prejudices, and all other appurtenances which considered separately you recognize to be no integral part of you,—there seems to remain in those pearl-colored brain-cells, wherein is your ultimate lair, very little save a faculty for receiving sensations, of which you know the larger portion to be illusory.

如果你努力树立这样的一种概念，一种你怀疑是否存在，能否部分控制你的血肉之躯的自我概念，一大堆可有可无的多余东西会出现在你面前：接下来当你有意识的把这些身外之物——你的衣物，器官和身体以及你养成的习惯，胃口，所遗传到的特点和你的偏见，其它所有附属品，在你看来各自都不能称为你整体一部分的东西——搁在一边时，它们似乎还是残留在那些珍珠色的脑细胞当中，而你最终的藏身之地也在于此，只剩下很少的空间用以接收情感，而且你知道就这些情感，其中大部分还是不真实的。

The humanities spirit is the spirit that is a person, be the spirit that people make track for and guard above-mentioned value and the humanities emotion actively, be people to the value and the humanities emotion of self-conscious.

人文精神就是做人的精神，就是人们主动地去追寻和守护上述价值观和人文情感的精神，就是人们对价值观和人文情感的自觉。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。